“BEER CITY SKATEBOARDS AND RECORDS is proud to reissue THE FACTION – Corpse In Disguise 12”. This is the third FACTION record ever released. Originally coming out in 1984 and as a 7” limited to 1500 copies. This is now being reissued as a 12” restored and remastered for a louder, better sound then ever before! This also contains three extra songs that were not on the original (“Pegged For Life” and “The Demons” originally were on the From The Valley Within 7” comp and “The Brain” was recorded but not included). All these songs were recorded in the same session thus finally making this record complete! This record also contains a sick inner sleeve complete with lyrics! To top it all off only 1500 of these will be pressed and on translucent blue vinyl for RSD 2016.
Featuring legendary pro skater (and founding member) Steve Caballero! Hear THE FACTION blaze through 7 classic songs that helped to define what would become known as Skate Rock. Just give this a listen and you can hear why THE FACTION is legendary and a pioneer of the Skate Rock genre.
This is the band that was on the Skate Rock cassettes. This is the band that’s song “Skate and Destroy” was in the opening of the first Bones Brigade skateboard video. This is the band name and logo 100,000’s of skaters world wide would write and paint on their decks, grip tape, school folders and skate spots! Even today their music is featured in many skateboard documentaries and was even used in a commercial that aired during Superbowl 49. THE FACTION are quit alive and well and still playing out to this day!”

Now grown out of the bedroom and operating as a fully functional band, London via Ukraine's POWERPLANT follow up last year's 'People In The Sun' LP with this new 5 track banger. The Devo / Tubeway Army / Screamers / Lost Sounds comparisons are still there but also the weirder tracks are weirder, the faster tracks are faster and is Theo fucking crooning on the opener? One way to find out. To better days!
Limited to 500 copies pressed on clear vinyl. Shoved inside a reverse board sleeve complete with lyric sheet.
(Static Shock Records)
https://staticshockrecords.bandcamp.com/album/a-spine-evidence

Singapore's SIAL return with another wave of destruction and their 3rd release on LVEUM. They've truly found the perfect balance of melody, noise and aggression while still putting great emphasis on the political aspect of hardcore punk that's always spitting hate towards the power that corrupts. The music and song writing can be somewhat ambiguous to some listeners who have devoted their life to the classic raw hardcore punk format, but this record shouldn't be left out- it carries the same cathartic punk experience. References point being THE COMES, LEBENDEN TOTEN or Perdition era DISORDER.
SIAL has always been using strong malay metaphors and proverbs in their lyrics, and more in this release to stress how important the Malay language is to them in expressing a structure that is broken in this modern capitalistic world. 'Tari Pemusnah Kuasa', which translates to 'The Revolt Dance' or ' Dance of The Power Crusher', delivers a sense of mysticism and empowerment. This uncompromising attitude is what we need in these trying times.
Tari Pemusnah Kuasa was recorded by the band and mastered by Will Killingsworth at Dead Air Studio. The record sleeve was designed by drummer Izzad Radzali Shah and comes with a printed inner sleeve by guitarist Hafiz.
(La Vida Es Un Mus Records)
https://lavidaesunmus.bandcamp.com/album/tari-pemusnah-kuasa-mlp

Like a steel girder to the forehead, incomes SCREAMS FROM THE CAGE. 19 minutes of brutally up front and relentlessly rowdy hardcore punk, that slams a firm British stamp on the classic Swedish Hardcore blueprint. This wrecking ball sits somewhere between the 80’s Hudiksvall sounds of MISSBRUKARNA, the damaged NO FUTURE confessions of THE PARTISANS and the sheer rock and roll audacity of the SKITKIDS. Back to back riffs that’ll stick to your brain like the glue at the bottom of your bag and steaming drums blasts that’ll plough through your skull like a juggernaut driven by a maniac high on amphetamine. Mylo Oxlo provides the artwork once again, perfectly capturing the claustrophobic animosity of the Rat’s latest 12 song romp and rampage. Fittingly dropping on the year of the Rat while the Tory’s take a strangle hold of the U.K for another 4 years. Hold onto your seat, feel the burn and don’t you dare turn this fucker down.
(La Vida Es Un Mus)
https://lavidaesunmus.bandcamp.com/album/screams-from-the-cage

Well, after a slew of 7” offerings, Perth’s Cold Meat have finally hit us with a full length record. Much like their last few releases they’ve taken an amped up approach to 70s PUNK but this time round they offer ever so slightly more diversity. Ten tracks clocking in at just over 23 minutes and cut at 45rpm for maximum volume. Get hot and flustered.
Artwork by Jennifer Calandra
Recorded and mixed by Al Smith
Mastered by Daniel Husayn at North London Bomb Factory.
“Agh! A fresh chop from the large dusty burning murder island: Cold is the Meat to beat. Perth’s finest flesh purveyors have upped their naughty game here across ten tracks of gleefully haughty punk. Hot and Flustered is somehow at once extremely camp and deadly serious. Ashley’s vengeful, elastic rasp smears menses down the screwfaces of vacuous tastemakers, climate change deniers, perennial street perverts, and of course, ZZ top fans. There’s some surprisingly poignant forays into melody (Beach Photography) and a good grip of sudden tempo fuckery to keep us well and truly hooked. Their signature chubby and defiant riffs under snarky bouncing toms formula extends well to the album form, creating a timely reminder that hate and fear are more than reasonable responses to our hell predicament. Let’s take comfort in collective ridicule. When it’s too hot to pogo because the sky is on fire, Cold Meat will let us writhe around in the dirt like the little piggies we are.” Bryony Beynon
(Static Shock Records)
https://staticshockrecords.bandcamp.com/album/hot-and-flustered

2nd album from this “all-star” raw punk/d-beat band coming out from Sweden. If you miss Totalitär - you are at the right place.
Why “all-star” band? Just imagine current line-up members and their experiences in bands like Warcollapse, Slutet, Totalitär (eh!), Dischange, Krigshot, Makabert Fynd, Dissekerad, Krig I Hudik, Katastrof, Institution, Brainbombs, Napalm A.D., Desperate Fix, Kvoteringen, Meanwhile, Disfear, No Security or Ääritila … and many more. This is album of the year!
(Phobia Records)
https://phobiarecords.bandcamp.com/album/exploat-r-avgrundens-brant-lp

Martin aka Lumpy and his band Fried EM with their debut album on La Vida es Un Mus. Snotty and obnoxious hardcore punk from the deep Missouri with a heavy Group Sex vibe. No song is over two minutes and so never outstays it's welcome. Let the pogo and fun begin.
(La Vida Es Un Mus Records)

Solidifying themselves as the undisputed kings of the grindcore underworld, PHOBIA return with their 6th full length album; Lifeless God. Not straying far from the formula that they have been crafting for over 26 years, this is another chapter in Phobia's legacy of unrelenting speed. Tracked at Trench Studios with engineer John Haddad, Lifeless God is 20 tracks of no bullshit, pure fucking grind that is punk as fuck and never slows down! Out from the ashes and ready to annihilate, Phobia have set their iron sights on the entire planet… and they are fucking pissed! For fans Of INSECT WARFARE, SLAYER, TRAGEDY, and MDC.
(Deep Six Records)
https://phobia.bandcamp.com/album/lifeless-god

Bogotá’s MURO and Mallorca’s ORDEN MUNDIAL have been flattening audiences all over the world with their unrelenting passion and energy. Now, one of the mightiest of all possible pairings in todays already delectable world of HC/Punk is available for the worldwide community of underground music. Recorded in Berlin in the icy grips of winter 2017, ORDEN MUNDIAL devastate the A-Side with a uniquely southern Spanish take on some classic American HC tropes like the buzzsaw sensibility of Boston Not LA era JERRY’S KIDS, part noisecore a la CONFUSE, all blended with a dirgey desperation that “Side B” era BLACK FLAG would leap upon with utter enthusiasm. MURO follow with an equally massive grip of songs in their uniquely “Muro” style. This is punk music only they could have made. Bursting with aggression and sadness, this is manic and dynamic hc at its best.
As wonderful as it is, this record is the last recorded output of ORDEN MUNDIAL. This project is in memory of the passing of Martí, bassist of ORDEN MUNDIAL, who outside of their duties in OM played bass in MURO on their tour of Europe, and on one of the MURO tracks on this record. Wild HC will keep us all. (Jonah Falco)
Sleeve designed by Sebastian Rosillo with a 8 page booklet by Bernat Mundial.
Mastered by Jonah Falco.
(La Vida Es Un Mus Records)
https://lavidaesunmus.bandcamp.com/album/sonido-de-la-negaci-n

The latest record from London's Permission perfects their thin savage sound that they've been refining for three records now. Restless manic hardcore, squirming with fury. While some hardcore attacks with sheer force or repetitive brutality, PERMISSION’s riffs whip back and forth like loose firehose, and though there may be some spiritual ancestors in the likes of weirder, more discomfiting ends of 80s hardcore like DIE KREUZEN or MECHT MENSCH, PERMISSION’s angle of attack, their style of itchy marshalled chaos, unpredictable yet never disjointed, is very much their own. (Joe Briggs)
Organised People Suffer sleeve and poster designed by guitarist Ralph Simmonds with a lyric insert designed by drummer Lloyd Clipston.
(La Vida Es Un Mus Records)
https://lavidaesunmus.bandcamp.com/album/organised-people-suffer

Reissue of the classic debut album! Limited to 500 copies on color vinyl! This version is in a GATEFOLD sleeve featuring the original Barney Bubbles artwork from the inner sleeve for the first time since the Belgian edition from 1978.
Yes it’s an official repressing of the debut album Cycledelic from JOHNNY MOPED following on from their new album It’s A Real Cool Baby which came out earlier in the year to critical acclaim.
Cycledelic was originally released in April 1978. Apparently a nightmare to record – by this stage, Johnny was practically under house arrest after the group’s van had run over Brenda’s mother (not fatally!), causing her to finally loose patience with whole scenario. In order to get Johnny to the studio on time, the others met him from work, spun some tale of needing a group meeting in some spurious café or other and promptly drove him all the way to the studio non-stop. The vocals were thus laid down in one day. A “Mystery Track” was added to the LP later at Roger Armstrong’s (Chiswick Boss) bequest. Johnny did the vocals for this cut over the phone. The “Mystery Track” eventually appeared on the LP in the same place as “VD Boiler” as a piece of concentric tracking (ie. you got one cut or the other depending where you placed the stylus.) Revolutionary! The rest of the LP was made up of live cuts recorded at The Roundhouse. Obviously, Johnny nearly didn’t turn up then either. The group had set up & sound-checked only to find Johnny queuing up outside the venue to pay to get into his own gig, with 15 minutes to go to show time
Described by Jon Savage in his book ‘England’s Dreaming’ as "certainly one of the more curious albums to emerge from the first wave of UK punk”. He went on … “Cycledelic, is the lone full-length album from Johnny Moped (which in the grand tradition of Alice Cooper was the name of both the band and its lead singer). Moped was a clumsy singer even by the standards of early British punk, given to moaning and gurgling when he couldn't think of something to say, and guitarist Slimy Toad had chops and wasn't afraid to show them, so some of the longer songs like "Maniac" and "3D Time" veer off into what sounds like a thug's version of prog rock. And even when the band did tear into something short, fast, and loud, they sounded like '60s pop gone mad on speed; Cycledelic may be one of the only albums from punk's first wave that displays almost no audible Ramones influence. But if the Mopeds were following a path all their own, they were clearly having a lot of fun doing it; the falsetto piss-take of Chuck Berry's "Little Queenie" serves as parody and tribute at once, "Darling, Let's Have Another Baby" is a wicked send-up of UK pop at its most insipid, and "Hell Razor," "Wild Breed," and "Make Trouble" thrash about with glorious abandon. And in 1978, there was no a better count-off on record than "Incendiary Device"'s "One! Two! Cut your hair!!!” Johnny Moped was a little too odd to serve as a true Everykid, but the absurd brilliance of the best moments on Cycledelic are a shining example of the punk credo that anyone could do it -- and that sometimes amazing things could emerge from unexpected places.”
Not all of the best punk-era bands were recorded, but through the farsightedness of Chiswick Records, Johnny Moped happily were. Thirty eight years (YES!) on, Cycledelic wears its dumb brilliance well. It’s also Captain Sensible's favourite album, which can’t be bad!
(Damaged Goods Records)

Raw Records was one of the UK's first ever independent labels, having been formed in 1977 by Lee Wood. This was the second compilation they issued in early 1978 following up the ‘Raw Deal!’ album (Damgood 209). This reissue includes 4 bonus tracks including the ultra rare ‘Into the 80’s’ by The Now.
16 of the label's best tracks feature here alongside a comprehensive discography of one of the most important but vastly underrated indie labels of our time. Bands such as The Users, Killjoys, Lockjaw and The Unwanted later provided members for the likes of The Cure, Psychedelic Furs, UK Subs and Dexy's Midnight Runners whilst the scarcity of Raw's releases made them highly prized collectors' items. Two Soft Boys tracks from one of the rarest Raw singles fetaure here, unavailable elsewhere.
Essential listening for any an Killeded by Death/Bloodstains Across.

Long-lost punk classic reissued on limited edition slime-green 7”! Another in a long line of punk single re-issues from Damaged Goods, this time it's the 7" released on Toadstool Records by the band SLIME. Slime was SLIMY TOAD from Johnny Moped's solo adventure into a recording studio during a bit of downtime in Johnny Mopeds career in 1978.
He was joined by mates Dave Tate on drums and Phil Sayers on vox and bass. They never got around to playing live as Moped duties took over once again. The single came out on Toadstool Records, Slimy's idea for a record label which was run by Chris Goodness who run a couple of record shops in Caterham, South London. It was recorded in Richmond studios where the legendary Cycledelic was also recorded.
(Damaged Goods Records)

St Louis Lumpy and the Dumpers delivers their first mini album, after a string of seven inches and tapes which gained them worldwide recognition among the hordes of misfits lovers of slimy bad punk musik. Nine tracks of snotty punk driven by one of the crudest guitars tones heard by these ears in a long time. The songs flow seamlessly, the lyrics are sharp and full of vile and stick in your brain like any classic punk should. The album includes their own classic take on 'Loony' the B-Side of the 1978 by Slime from London which feels both a statement and a re-appropiation of a song which could have easily being written by the Dumpers if it hadn't existed. In fewer words this is a magnificent gross record.
The record comes housed in a sleeve designed by Lumpy himself carrying their signature aesthetic.
(La Vida Es Un Mus Records)
https://lavidaesunmus.bandcamp.com/album/huff-my-sack-lp

Since emerging five years ago Lumpy and the Dumpers have gone from being aberrant oddballs to key figures in a whole scene of weirdo punk. Through Lumpy Records and its influence a grubby morrass of freak punk has bubbled to the surface in their slimy wake. Those Pickled Fuckers is the sound of a band distinguishing themselves from a sound they inspired, not falling into the easiness of a sound, finding new ways to express their grubby vision while retaining the essential muck that made people take notice in the first place.
Over seven tracks of gritty discomfort punk, bulging with bodyhorror blues and puerile manic imprecations, Lumpy and the Dumpers revel and writhe in the effluvia of life and the rude pangs and oozings of flesh.
Revivifying the dead metaphor of the earworm, these songs burrow snugly into your brain, distorted sing-song playground melodies, like hell dimension children's show theme songs, exploding with weird turns and twists, from the blaring horns of Someone's In The House's paranoiac stomp, to the wild malfunctioning chiptune screams cutting through Attention and the sinister whoops and crashes of the oddly mellow Clatter Song, Those Pickled Fuckers is an album only Lumpy and the Dumpers could've made. (Joe Briggs)
Those Pickled Fuckers comes housed in a heavy reverse board sleeve designed by Lumpy himself and comes with lyric insert and download code.
(La Vida Es Un Mus Records)
https://lavidaesunmus.bandcamp.com/album/those-pickled-fuckers-mlp

With a slight line up change in the drum department we see RAKTA tighten up their more tense, soundtrack natured developments alongside their more sparse and vulnerable elegance. They consistently manage to create a tripped out creep chamber with room to explore as the aura builds to nightmare crescendos juxtaposed with shaking silences. Simultaneously eerie and serene. With each new release we see more and more of what makes this group so essential in the canon of modern music.
300 copies on black vinyl and 100 on bone colour vinyl housed in a beautiful printed inner sleeve inside a heavy duty reversible cover with a vellum insert. Recorded by Fernando Sanchez. Mastered by James Plotkin. Art by André Penteado, Karlla Giratto and Rakta.
Includes digital pre-order of Falha Comum. You get 1 track now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released. USA press on Iron Lung Records. Brazilian press on Nada Nada / Dama da Noite.
(La Vida Es Un Mus Records)

After what has seemed like an eternity and an extremely long journey (including 90% of the initial pressing of the record mysteriously disappearing in transit), Blazing Eye's most recent recording secures their place as one of Los Angeles's best hardcore-punk bands. Propagating punk as true and original as bands the likes of G.I.S.M. and Siege, Blazing Eye sets forth with their strongest release since their 2013 demo. It's a banger for sure and I'm happy that this record is finally a reality. A one time pressing.
(Static Shock Records)
https://staticshockrecords.bandcamp.com/album/ways-to-die

Deep Wound was the first band from J Mascis and Lou Barlow (later Dinosaur Jr.) in the early 80s.But if you now expect guitar rock and grunge, you are completely wrong, because the band played incredibly fast, complex hardcore for the time, which easily reached the level of the other Boston bands (Jerry's Kids, Negative FX, SSD, ...).The only 7'' with 9 tracks has been booted several times and is rightly considered an absolute classic.In addition to the tracks of the above7'' there are also the two songs from compilation "Bands That Could Be God" and the 13 songs from the first demo.If you like original Boston Hardcore and do not already have the songs in another form, it would be a good idea to access them here.
Tracks A1 to A9 were originally released as "Deep Wound" 7" on Radiobeat Records in 1983.
Tracks A10 and A11 were originally released on the compilation "Bands That Could Be God" on Radiobeat Records in 1984.
Tracks A12 to B12 were originally released as "1982 Demo".
(Damaged Goods Records)

Amyl and the Sniffers are a punk band possessed by the spirit of seventies Australian rock. Amy Taylor (vocals), Bryce Wilson (drums), Dec Martens (guitar) are former housemates who formed the band, wrote a handful of tunes and released their debut EP, Giddy Up, all in a span of twelve hours. Completing their line up with Gus Romer on bass, the band take their cues from a diverse bunch of legends including AC/DC, Cosmic Psychos, Dolly Parton and Die Antwoord, setting out to have as much fun as possible.
Their 2nd EP, Big Attraction, was released in February 2017, kicking off a stellar year for these young punks. Growing buzz around their blistering live show made the band a hot tip at Bigsound in Brisbane, while the band was added to festival line-ups including Meredith and CherryRock17. The band and were invited to join the Cosmic Psychos on their forthcoming November/December tour and capped off the year with a sellout NYE show at the legendary Tote in their home town of Melbourne.
2018 sees Amyl And The Sniffers ratchet up another couple of gears with their first national headline tour in April followed by UK shows in May, and their first North American tour in June with fellow Melbournians King Gizzard And The Lizard Wizard.
(Damaged Goods)

The long lost Neanderthal discography finally emerges from it's cave to see the light of day. Eight anthems of destruction (5 tracks from the 1990 "Fighting Music" 7" on Slap A Ham, 2 tracks from the 1990 Neanderthal/Rorschach split 7" on Vermiform, and one track from the 1991 "Bllleeeeaaauuurrrrgghhh!" compilation 7" on Slap A Ham). Without Neanderthal there would not be Powerviolence. Nanderthal was Eric Wood (Man Is the Bastard and/Cross Out), Matt Domino (Infest), and Joe Denunzio (Infest). A must have for anyone interested in Infest, Man Is The Bastard, Charred Remains, Weekend Nachos, or Lack of Interest. This is a discography of all released recordings. One sided with Neanderthal etching on B side. Let the games begin! (Deep Six Records)

Official reissue of seminal Japanese Hardcore band THE COMES debut. Originally released in 1983 on Dogma Records, a newly created City Rocker’s side label to release Hardcore/ Hard punk) No Side remains a milestone of first wave Japanese Hardcore. A vital document to understand the days when the Tokyo Hardcore scene was small and unknown with G.I.S.M., EXECUTE, GAUZE and THE COMES as main runners. Bands who shared stages, record labels and who grew to be one of the most varied, influential and enigmatic punk scenes of the planet. THE COMES music is frantic and sharp punk, bass driven and manic sounding with vocalist Chitose aggressive vocals punctuating every syllable and dominating the tunes. Like most first wave Hardcore acts they own their own sound and albeit many times imitated it has never been matched.
No Side reissue comes in a heavy paste on board textured sleeve and includes a replica lyric insert.
Includes digital pre-order of No Side. You get 2 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.
https://lavidaesunmus.bandcamp.com/album/no-side